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分梨研讨会 Seminar of Split the Pear

布面油画 Oil on canvas, 80x60cm, 2023

曾沂聂

Zeng Yinie

1983年生于广东，2007年毕业于广州美术学院油画系，2019年结业于广州美术学院写实高研班。

Born in Guangdong in 1983. Graduated from the Oil Painting Department of Guangzhou Academy of Fine Arts in 2007. Completed the course of realistic oil painting advanced education from Guangzhou Academy of Fine Arts in 2019.

「不可分梨」

过去的几年有感于艺术对社会的无用，可又深知人类世界离不开艺术，有鉴于此开启了二零二三年的创作。艺术的根本只是呈现个体的思想，表达某种具有本质性的认知。而这样的思想认知观念是建立在大量集中的思考与反复的追问上。

近期的作品以蔬果与书籍为题材，果腹的蔬菜水果和作为精神文化传播载体的书籍，代表了两个层面。“形而上者谓之道，形而下者谓之器”，我试图用绘画的方式把道与器之间的关联进行诠释。人生有很多不同的年龄阶段，也有不同的认知阶段，还有不同的境遇情况，接触的层面又有所不同，不同的阶段对道与器的认识和体悟自是不同。老子说“道可道非常道”，绘画的图式，刚好可以比较智慧的去提示或暗示出某些“道”的感悟。

笔墨随时代，好的作品既要表现自我观点，同时又要跟上时代的思潮，写实手法由于大众对油画的固化概念或许显得沉重老旧，写实的技巧往往又掩盖了作者的思考。手法本身没有问题，只是应结合当下的审美进行有效的转换，描绘出具有当下审美意味的画面。近期的画面在写实物象的同时运用了波普的平面化处理，具有暗示性的重复图案能给人某种心理上的启发。“创造”是每一位艺术工作者的追求，当下的艺术氛围类似于春秋百家争鸣的时代，绘画内部的研究告一段落，近现代以前留下来的绘画手段与思考方法都可称为传统，所以在当下选择任何的绘画流派手法介入创作都成立，只要结合个人的性格，并能有个人视角与见解，老树发新芽也是常态。而且，有传承地创造才更符合东方艺术观。

困局过后是机遇，机会是留给善于发现和改变的人。

曾沂聂

火辣甜蜜 Hot and Sweet

布面油画 Oil on canvas, 60x60cm, 2023

「 InsePEARable 」

Over the past few years, the uselessness of art to the society has struck me, however, I do believe that art is indispensable to the world of mankind, and my creation of art in 2023 set off with such state of mind. The essence of art is to present the individual’s thoughts and to express a certain kind of cognition by its nature. And such cognitive concepts are based on a lot of concentrated thinking and repeated inquiry.

Fruits and vegetables, which can fill the stomach, as well as books, which are the carriers of spiritual culture, representing two layers respectively, are the subject matters of the recent works. ‘Hence that which is antecedent to the material form exists, we say, as an ideal method (Tao), and that which is subsequent to the material form exists, we say, as a definite thing (Qi).’ I was trying to interpret the connection between Tao and Qi by painting. There are different stages of ages and cognition in life, and there are different situations where people are exposed to different things, as a result, perceptions and understandings of Tao and Qi vary. Lao Tzu said, ‘The Tao that is utterable is not the eternal Tao’, and the pattern of painting can be a wise way to suggest or imply the realization of certain Tao.

Ink and brush should follow the times: good pieces should not only express the self viewpoint, but also keep up with the trend of the times. Realistic techniques may seem a bit serious and old-fashioned due to the public’s stereotype of oil painting, and they often cover up the author’s thought. There is nothing wrong with the techniques themselves, only that they should be effectively transformed with the current aesthetics to depict pictures with current aesthetics. The realistic objects in the recent pieces are handled with a scent of flatness of pop art, and the suggestive repetitive patterns can give people some kinds of psychological inspiration. ‘Creation’ is the pursuit of every art practitioner, the current situation of the art world is similar to the era of the Spring and Autumn Period when the hundred schools of thought contended and thrived. Now the study of painting itself seems to come to an end, and the painting methods and thinking methods left behind before the modern era can be called traditional, so it is valid to choose any painting genre to intervene in the creation of artworks as long as they are combined with personalities and individual perspectives. When it is combined with one’s personal character and has a personal perspective and insight, it is common to see old trees sprouting new shoots. Moreover, creation with inheritance is more in line with the oriental art concept.

Opportunities lie behind predicament, and they are saved for those who are good at discovering and changing.

Zeng Yinie